In 1984, photojournalist Steve McCurry was in an Afghan refugee camp in Pakistan. He followed the sound of voices to a tent where he found a group of girls. "I noticed this one little girl off to the side that had his incredible set of eyes that seemed almost haunted--or very piercing," he tells NPR's Audie Cornish.

Photo Credit: Steve McCurry

McCurry snapped a picture that ended up on the cover of National Geographic's June 1985 issue. "The Afghan Girl" became one of the magazine's most widely recognized photographs--and one of the century's most iconic. To get that shot, McCurry used a type of film that has become iconic in its own right: Kodachrome.

The film, known for its rich saturation and archival durability of its slides, was discontinued last year to the dismay of photographers worldwide. But Kodak gave the last roll ever produced to McCurry. He has just processed that coveted roll at Dwayne's Photo Service in Parsons, Kan.--the last remaining location that processes the once-popular slide film.

What's on that landmark roll of film is still under wraps. It will be the subject of an upcoming documentary by National Geographic. What is known is that the first and last images are in New York City, McCurry's home base. And between those frames are photographs from India, where McCurry established his career as a master of color photography.

Although he has almost a million images spanning 35 years in his Kodachrome library, he still felt the pressure of this assignment. Every one of the 36 frames on that final roll was precious. "Am I getting the right moment?" he wonders. "Is it in focus? Is the exposure right?"

So before he took one of those shots, he used a digital camera to hone in on the perfect exposure. "To have that reinforcement, to be able to see that on a two-dimensional screen ... it was a big help," he says.

And he's got a piece of advice for amateur photographers with unused Kodachrome film lying around: Get it to Dwayne's! The Kansas photo shop will stop processing Kodachrome rolls on Dec. 30. And while that will mark the end of an era of photography, the memories created with Kodachrome--like that Afghan girl's green eyes--will live on.

*This article originally appeared on NPR's The Picture Show. You can read it HERE.

Event planner Stephanie Anderson of One Fine Day and the brand-new wedding site, Tahoe Unveiled, authored a guest post for my blog. Stephanie is a talented professional with a gift for producing off-the-charts events. Today, she addresses a couple's inevitable wedding conundrum.

Kids or no kids? How to handle inviting a guest's kids to your wedding:

Inviting kids to a wedding? A few of my brides have inquired about the difficulties of guests with kids. Although kids are lovely and can be very endearing, you may not want to hear crying and screaming on your wedding day. In addition, it can be pretty tricky to invite your friends and not their kids, especially if travel is involved. To avoid the hassle, the arguments, and any hard feelings, try one of these ideas:

1. Hire a babysitter. Inform your guests that a babysitter will take care of your kids throughout the ceremony and reception. For your slightly paranoid parents, you may want to hire someone with First Aid certification. Ask your venue if they have a spare room you can use as the kids' corner.

2. Kiddie Corner. Designate one or two tables at the reception to kids only. Garnish the table with GI Joes, coloring books, Pretty Pretty Princess, and Hungry Hippo (clearly my childhood favorites). If you are worried about the kids wandering off, hire a babysitter to sit at the table with them. But, make sure your babysitter comes highly recommended and will do more than just sit at the table.

3. Hire a magician! Kids are easily distracted, so if games won't cut it, then hire a clown, a magician to keep them entertained and away from your limelight!

Like my above image of the young girls dancing? You are welcome to see more images like these in the gallery section of my own recently unveiled website: weddings.catherinehall.net

Tofurious is the brainchild of wedding marketing consultant Lawrence Chan, an irreverent social-media innovator at the forefront of this field. As a longtime friend and peer, Lawrence generously invited me--along with other photographers, such as Dane Sanders, Bianchi Sisters, Joe Buissink, Jason Groupp, and founder of Thirst Relief Jim Davis-Hicks--to participate in a state-of-the-industry conference in Los Angeles today and tomorrow (August 4-5).

Dismayed by what he calls the "tactical slaughter of one other through slashing of prices, leading to an eventual degradation of the industry....all while the middle-tier is being risk averse," Lawrence is partnering with Jeff Jochum to form Startup Strategy. Startup Strategy focuses on aspiring professional photographers who lack experience and veteran photographers who might have lost clarity through the years.

At today and tomorrow's conference, speakers and discussion will revolve around how newbie photographers can distinctively set themselves apart and uniquely market themselves, and how experienced photographers can turbo-charge their existing business and find clarity again.

I return from LA next week and look forward to some of the pointers I picked up with you! Stay tuned...

I'm an avid devotee of NPR's "The Picture Show," an online catalog of photographs from around the world, accompanied by smart, insightful stories that contextualize the images within larger patterns of history and social science.

Recently, my friend and fellow photographer Grant Kaye directed me to a similar, recurring The New York Times Online feature called "Lens," a series that focuses on the world's finest photography, video, and visual journalism. Specifically, he sent me a link to a Q&A with 61-year-old photographer Stanley Green, who is the founder of a photography foundation in Amsterdam and winner of the 2003 W. Eugene Smith Grant.

I was moved by Mr. Greene's depth and complexity of character and would like to share his words with you. Below, you can read a repost of "Stanley Greene's Redemption & Revenge," originally published at this link in The New York Times.

Stanley Greene's Redemption and Revenge

By MICHAEL KAMBER

Lori Nordstrom is an amazing educator, print judge and quite the photogra-momma! Here, she shares with us some of her expertise as well as encouragement!

Print competition can be a bit scary the first time.  Well, let's face it... it's scary every time!  While we put our emotions, and at times our self-worth on the line for the judges, after competing a few times you'll find it addicting!  Print competition will move you forward as a photographer and artist.  Each time you perfect a print and then open it up for critique, you will learn and grow.  Print competition and critique is a learning experience in itself.  I highly recommend attending a print competition, listening to the judges and learning.

There are many competitions out there, and one of the most "competed" and researched photographers I know is Catherine Hall  http://www.catherinehall.net/weddings/index.html.  Catherine has competed in most print competitions out there and has even published a book on competitions, schedules, rules, etc.

For this discussion we will focus on PPA's (Professional Photographers of America) print competition.  Through PPA you will compete first on the state level, next regionals and then on to nationals.  Each level propels to the next.  At the state level you compete not only to learn and grow but for state awards.  It's recommended that the prints that do well move on, and that you take critique and recommendations to perfect prints or try new ones at the regional level.  Each time you enter be sure to "fill your case".  Many state competitions allow more than the traditional four prints so that 6-8 can be judged and critiqued.  Take advantage of this if it's an option.  Four prints are allowed at the regional and national level.  Don't send less than four!   I made this mistake my first year of competition and only entered two prints.  I didn't know any better!

PPA has given us 12 elements of a "merit" print.  These are prints that are considered above average and worthy of a merit (prints that score 80 or above). As a judge we are to start at 100 (as a score) and then take points off for "issues".  We are also taught in "judges school" to really examine and look closely at images for flaws.  It's a judges responsibility to be able to communicate the problems as well as the positives.  Be sure to take anything the judges bring up and remember those things when you are in similar circumstances.  I can think of many things I've heard in print comp, even when it's not my image!  I think about those things when I'm out shooting and make sure to pay close attention to them.  You will move forward and your client will benefit from all that you learn through print competition.

The 12 elements of a "merit print" as defined by PPA's Photographic Exhibitions Committee (PEC) are as follows:

• Impact
• Creativity
• Technical excellence
• Composition
• Lighting
• Style
• Print Presentation
• Center of Interest
• Subject Matter
• Color Balance
• Technique
• Story Telling

A successful print must have each of these elements and they are listed according to importance.  Good luck in your print competitions and be sure to go through this check list before entering! It's also really helpful to send prints to someone who is a Master Photographer, or a PEC judge for critique before entering.  Take suggestions and make changes where you can, and overall, believe in what you love and feel passionate about!

Lori sweetly answers a few questions about Print Competition:

When you enter print competition each year, how do you decide which images to enter? What advice can you offer to those who may be entering for the first time and don't know where to start? The very best thing you can do is to find a mentor.  Someone who is a master photographer and has earned their stripes that you can email your images over to and ask for honest critique.  Don't enter something that's too personal.  Don't enter your kids (in most circumstances!).  Start with images that you feel are technically strong and work on them to make them stronger.  Look for the little details that can make a huge difference before the judges.

I know you often enter albums for competition. Why have you chosen to go this route over individual images? Do you think it is easier or harder to do this? Most would say it's harder to enter an album because it represents a body of work and not just one image that you can work on to make amazing.  I feel that my work, and what I do, tells a story.  So, to me an album makes perfect sense.  When entering albums, be sure that lighting and color is consistent.  There should be several images that can stand alone.  In other words, in the end of it, a judge will look back and say how many of these images would be merits on their own, and how well does it all flow and fit together.  The same elements of a merit print stand in an album, but when working this way you have to pay even closer attention to the story and emotion.

I know photographers are a little split on this topic. Some photograph specifically for competition images. Others feel you should enter what you photograph from day to day. Do you have a particular opinion on this? I think there are benefits to both.  I personally have never photographed for competition.  It doesn't mean that I never will!  In the past however, I've looked for images that I love and then worked to perfect them.
I like the idea of shooting for competition because it pushes you as you look for all of the elements.  I love having digital as a tool.  Shooting, checking it out and then perfecting as you go.  I think this is a great way to learn and grow as a photographer.

What did you do the first time one of your images won an award? My first competition was a result of sending an image for a client to have printed by Lou Zoke.  I met Lou at a week-long workshop and saw some of his black and white printing (film at the time!). I was so impressed that I sent him a few pieces to try out his work.  Lou called me after receiving one of the prints and recommended that I enter it in print competition.  I had no idea what that was or what it meant, but I decided to go for it!  I only entered one print (not knowing any better) and ended up winning several awards with it.  I really didn't understand the process or what any of it meant.  If I won the awards today that I won then, I would be jumping up and down and squealing! lol  I definitely was hit with the bug at that competition and began entering a "full case" after that.  By entering at each level (state, regional and then on to national) I was able to earn my Masters degree very quickly.

Any advice to photographers who may have a rough go the first time in competition? How do you suggest they go about dusting themselves off and going at it again? Every experience is a learning experience.  I've had competitions where I haven't done well.  I remember one in particular where I sat in the back of print judging and cried.  I can remember having the feeling that day that I wasn't any good and wanted to quit!  Another photographer talked to me that day and reminded me that while print competition pushes and challenges you, it's not what pays the bills. Always try to learn something from the judges and their comments.

*This story originally appeared on NPR.org at http://tinyurl.com/28gkamu
Photography can do powerful things. Deborah Luster, for example, tells a story of how one of her photographs reunited a family: A mother, who had spent 15 years in a Louisiana prison without seeing her children, requested that Luster take her portrait -- thinking that if she sent the image to her children, it might "soften their hearts." It did. A few months later, when Luster followed up, four of the woman's children had come to see her.

Photography has done powerful things for Luster, too. In 1988, her mother was murdered by a contract killer. And as a way of coping, Luster found herself looking through the lens. Exactly one decade after her mother's death, Luster was commissioned to photograph the poor parishes of northeast Louisiana, to strengthen the region's application for federal grant money.

Wandering around, she noticed two things: there were a lot of prisons, and few people. She figured the people must be in those prisons. And so began her portrait series. Using an old-fashioned silver plate technique to emulate timelessness, she has captured thousands of inmates. Luster doesn't ask much, doesn't need to know the details of their stories. She just wants to show the outside world who these inmates are -- as they themselves want to be seen.

Her project, titled One Big Self, comes from Terrence Malick's film, The Thin Red Line. As the dialogue goes, "Maybe all men got one big soul where everybody's a part of -- all faces of the same man: one big self." It's pretty remarkable that Luster has emerged from tragedy with such a humanitarian world view. At the end of the day, she's trying to show that although inmates may have made some big mistakes, they are people, too. That's the power of a photograph.

And the Lowepro Bag Winner Is...

What a great response to my giveaway offer--thank you to everybody who participated in the contest. In order to win a free Lowepro Stealth Reporter D650 AW shoulder bag, I asked folks to craft a striking, vivid description of their favorite photograph of all time.

Wow, you people are writers! What lush, evocative descriptions--not to mention tastefully chosen images. Some of my favorite comments included:

Trey Ratcliff's stunning "An Icelandic Horse in the Wild" leaves John Martin awe-struck. Shawn Reeder described "In the Early Light," focusing on the joy of finding the perfect vista on Shuteye Ridge. Andy Macpherson finds inspiration in "Lunch Atop a Skyscraper," by Charles Ebbets. A wedding image by Joe Buissink wows Bryn Clark. VeroG, Dave Krepps, William, and Alicia Sisk all chose to describe images by--well--moi! Thanks, guys.

As difficult as it was to choose, I narrowed down my favorite entry to Darren Su's. His intimate description evokes the cultural and historical nostalgia of family. Please see Darren's winning entry and the accompanying image below:

I never met my grandfather, because he died just a few years after taking this amazing color photo of my mom and grandmother in 1949. These are two of the most precious people in the world to me, and here they are in their youth sharing a truly magical and wonderful moment surrounded by brilliant color and light so many years ago. My grandfather's award winning photographs are like a window in time. They have been a huge source of inspiration for me as a photographer.